Chapter 9 Cinema in an International Frame.ppt

Chapter 9: Cinema in an International Frame The International Auteur Cinema Auteurism Film is an art The director as artist 1950s-1960s Emergence of ‘art cinema’ centered on key international auteurs Michelangelo Antonioni Ingmar Bergman Luis Bunuel Federico Fellini Akira Kurosawa Michelangelo Antonioni Theme of lovelessness and alienation among the middle and upper classes Images that offer precise visual statements of this theme The Trilogy: L’avventura La Notte L’eclisse Ingmar Bergman Intense psychological focus on spiritual and emotional distress Close collaboration with cinematographers and stock company of actors The Seventh Seal and Wild Strawberries become classics of the art cinema The Trilogy: Through a Glass Darkly Winter Light The Silence Luis Bunuel Film productions in Mexico, Spain, France, the U.S. Surealism Opposition to bourgeois morality Celebrating anarchy and impulse Un Chien Andalou – a classic of surrealist film Film style assaults cinema’s conventions of Time and space continuity Narrative logic Federico Fellini Turns away from the Italian cinema’s tradition of realism Emphasizes spectacle, pageantry, and dreams Radically anti-realistic and theatrical style La Dolce Vita, 8 ?, Juliet of the Spirits, Amarcord Akira Kurosawa Best known for samurai films A major influence on American films 1948-1965 – period of peak artistry Filmmaking tied to Japan’s post-war recovery Style based on rare combination of elements Montage editing, camera movement The long take, static and motionless compositions New Wave Filmmaking Film history is marked by periodic ‘new waves’ Alternative film styles centered on new generations of filmmakers Italian neo-realism (1940s) French New Wave (1950s-1960s) New German Cinema (1970s) Hong Kong Cinema (1980s) Italian Neo-Realism Emerges in opposition to glossy studio filmmaking Aims to portray contemporary social conditions with focus on the lower classes Film technique would be simple, direct, unembellished Ossessione (19